Thus art historians believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus.
WSJ: The Imaginary Made Nearly Read | The Chimera of Arezzo | Masterpiece by Judith H. Dobrzynski
Despite WWII damage, Arezzo has photogenic streets and squares including the Piazza Grande, which holds a huge antiques fair on the first weekend of every month.
Catching the moment when the defiant monster is fighting for its life, the Chimera of Arezzo is a lean and savage beast, nearly starved for food.
WSJ: The Imaginary Made Nearly Read | The Chimera of Arezzo | Masterpiece by Judith H. Dobrzynski
"These" were Piero della Francesca's frescoes in the church of San Francesco in Arezzo, Italy, a place of pilgrimage, then as now, for lovers of the severe Renaissance master from Umbria.
WSJ: Separated at the Altar | Piero della Francesca in America | Frick Collection | By Karen Wilkin
In the line of hills that divide the sepia-tinted Tuscan landscape south of Arezzo from the even more rapturous countryside around Siena, Castel Monastero has watched nearly a thousand years go past.
One was the celebrated Chimera of Arezzo.
WSJ: The Imaginary Made Nearly Read | The Chimera of Arezzo | Masterpiece by Judith H. Dobrzynski
These are shown in the car park 14 floors below street level, accessible only by lift, as if buried in Mayfair's subconscious, and lit by five wall-size light boxes showing an enlarged detail of horses legs, taken from Piero della Francesca's Arezzo Fresco Cycle.
WSJ: London Artists and Curators Ponder the Unconventional With Unique Spaces
When it was discovered in late 1553 near Arezzo, southeast of Florence, along with some smaller bronzes, it was quickly claimed by Cosimo I de' Medici, then the Duke of Florence, later the first Grand Duke of Tuscany, and the founder of the Uffizi.
WSJ: The Imaginary Made Nearly Read | The Chimera of Arezzo | Masterpiece by Judith H. Dobrzynski
These paintings were a source for Piero della Francesca's cycle on the same subject, painted in Arezzo in the middle of the following century, though Gaddi, with happy disregard for realism in scale, hardly anticipates the rigorous perspective and complex geometry of Piero's work, not to mention its cold, clear atmosphere or the figures' graceful stillness.
WSJ: A Heavenly View From On High | Basilica of Santa Croce | Agnolo Gaddi | By Francis X. Rocca
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